‘Melódico’ in Movistar +: Tribute to the melodic song | TV

There is a pending debt with the Spanish melodic song, that popular, romantic and passionate genre born in the sixties and with some repercussion in the eighties and later, but that above all and still coexisting with other successful styles (pop, rock, singer-songwriters , song of the summer, last death throes of the copla) monopolized the lists of successes of our country during the seventies as one of the most naturally rooted styles, defining the tastes and the society of that time.

It was made possible by a handful of unique producers and composers touched with the wand of talent and emotion (Manuel Alejandro, Juan Carlos Calderón, Gómez-Escolar, Pérez Botija, Óscar Gómez or Mariní Callejo) and the very personal and privileged voices fundamentally soloists (Camilo Sesto, Julio Iglesias, Rocío Jurado, Pablo Abraira, Paloma San Basilio, Raphael, Lorenzo Santamaría, Cecilia, Jeanette, or Nino Bravo) who over time and without paying for the services provided, were unceremoniously withdrawn from the radios and the televisions to leave them lying mourning the loss of their former splendor in the grass. Except for an honorable exception blessed by the gods of eternal longevity (Raphael, Julio Iglesias), the rest would be unjustly confined in their castle of nostalgia and we have scarcely heard them again and see their hair perhaps packaged in offer of glories tours retro, arranged in the karaoke directories for the botched of the spontaneous driven by a few drinks or serving as bait in the sporadic programs made with television archive performances, adding the corresponding humorous and not always courteous label that delights the troop. A custom, by the way, of prematurely retiring our most veteran artists, genuinely Spanish, little frequented in neighboring countries such as France or Italy, to give two examples where the style was cultivated profusely.

The admirable series Melodic, available these days on Movistar +, he comes not only to thank the exceptional musical company that warmed the hearts of the generation of baby boom, but also to recognize the worthy career of these singers, producers and composers, reviewing some of their most glorious works, songs without which many of those that emerged later would not have pillars on which to settle.

Among the statements of those singers or producers, a few musical critics and especially a handful of current performers and composers who from very different styles (pop, rock, electronic music, or the movement indie) They arrived in their day with the perverse idea of ​​killing their father but today, perhaps repentant, they join the vindication and not only confessing their devotion to timeless jewels of the genre but even versioning them, of course, with unequal fortune and interest but always with respect and estimable will.

There are those who speak with deep knowledge of the subject (Enrique Bunbury seems to have just completed a master’s degree on the figure of Jerez composer Manuel Alejandro and reminds us of forgotten albums composed for Emmanuel, José José, Jeanette, Rocío Jurado, Marisol, Hernaldo or Raphael) , there are those who do it with a hint of indulgent nonchalance (listen to producer Paco Loco detailing the strange sequence of chords used by José Luis Perales in You call me), There are those who recognize the inevitable (“it was the music our parents plugged in on long car trips,” says actor Asier Etxeandia) and even those who do it with a bit of arrogant ignorance (Rufus T. Firefly goes so far as to confess that I considered them tacky and a bit naive) but there we see them all, working in favor of the work, summoned during a long study day to update some of the most unforgettable songs, dealing with the impossibility of transporting those great sections to a simple keyboard strings recorded by fifty exalted musicians.

We are talking about songs of love or heartbreak, of course, but let us also point out that without entering the protest and protest territories of their contemporary singer-songwriters or rockers, they also knew how to add themselves with greater or less subtlety to the battles imposed on them by living their own time. Christina Rosenvinge reminds us of how pioneering the feminist cause some of Mari Trini’s songs were, putting the male supervisor in his place with I’m not that one; Rocío Jurado, unceremoniously expelling from her bed her legitimate Sorry my love; Cecilia, pulling irony in I will stay single; or Marisol, very bored, sending us all for a walk after feeling used and exploited. Pioneering and brave women who injected in difficult times the necessary dose of macho inoculation on a songbook that, of course, is worth claiming as this very opportune series does with respect, taste and knowledge and from which we await new and necessary chapters .

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George Holan

George Holan is chief editor at Plainsmen Post and has articles published in many notable publications in the last decade.

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